Baby do Brasil em cena de "Apopcalipse Segundo Baby" – foto divulgação
Baby do Brasil em cena de "Apopcalipse Segundo Baby" – foto divulgação

Autor de documentários musicais preciosos sobre Luli & Lucina (Yorimatã, 2016), Luis Capucho (Peixe Abissal, 2023) e Maria Alcina (Sem Vergonha, 2024), o diretor Rafael Saar debruçou sua câmera sobre a história de Baby do Brasil por um longo período, iniciado em 2009 e concluído em 2025. O resultado é Apopcalipse Segundo Baby, recém-exibido no festival de documentários É Tudo Verdade. A fusão sugerida pelo título, de pop com apocalipse, norteia um mergulho em profundidade na trajetória dessa niteroiense que poderia facilmente ser reconhecida como uma das maiores cantoras da história do Brasil – mas, via de regra, não é.

Apoiado por riquíssimo material audiovisual, Apocalipse Segundo Baby passeia com desenvoltura pelas várias fases – por vezes contraditórias entre si – atravessadas pela artista desde o início de seu caminho na música, aos 17 anos, em 1969. Foi quando Baby, então Baby Consuelo, fugiu para Salvador e se agregou à comunidade musical que entraria para a história como Novos Baianos. Entre esses baianos novos, estava Pepeu Gomes, com quem Baby teria nada menos que seis filhos, concebidos e paridos praticamente em público, do alto dos palcos. Um dos momentos mais eloquentes do filme é quando Baby volta para debaixo da Ponte de Piatã, em Salvador, onde chegou a “morar” em 1969.

Entre novos baianos, à época de “Acabou Chorare” (1972) – foto divulgação “Apopcalipse Segundo Baby”

A fase inicial, vivida ao lado de Moraes Moreira, Galvão, Paulinho Boca de Cantor, Pepeu e toda uma coletividade de músicos e agregados baianos e cariocas, alegorizou uma versão brasileira do período hippie e da contracultura, no Brasil também apelidado de desbunde. Com os Novos Baianos, Baby cultuou a vida junto à natureza, o prazer, a música (samba e rock à frente), o lema paz & amor (& futebol), os estados alterados da consciência.

Apopcalipse Segundo Baby é pródigo em imagens em movimento desse período histórico da música popular brasileira. Isso inclui um caleidoscópio de protótipos rudimentares de videoclipes (caso de “Caia na Estrada e Perigas Vez”, de 1976), flagrantes da vida no Cantinho do Vovô (o sítio carioca onde os Novos Baianos viveram em comunidade hippie), o convívio com as crianças que iam nascendo naquele espaço, jogos no campo de futebol dos Novos Baianos F.C., cenas de filmes em que Baby atuou… Entre esses momentos destacam-se versões ao vivo em estado de quase nudez de futuros clássicos rock-MPB dos Novos Baianos, como “Curto de Véu e Grinalda” (1970, em que ela surge com cara rechonchuda de bebê mal saído das fraldas), “Brasil Pandeiro” (1972), “A Menina Dança” (1972), “Acabou Chorare” (1972), “Sorrir e Cantar Como Bahia” (1973)…

A menina dança: Baby em 1972 nos Novos Baianos, aos 20 anos – foto divulgação “Apopcalipse Segundo Baby”

Sobre a transição do hippismo setentista dos Novos Baianos para a carreira pop solo nos 1980, Baby aparece reivindicando o título de primeira mulher a cantar em cima de um trio elétrico em Salvador – ela descreve o momento, quando os trios eram apenas instrumentais, em que ela saiu do papel de tocar surdo e tomou o microfone para convocar a massa a cantar o hino do Esporte Clube Bahia. Para Baby, os Novos Baianos eram filhos diretos do Trio Elétrico Dodô e Osmar – e portanto ela, desavisada, antecipou mais de uma década o advento de Daniela Mercury e Ivete Sangalo. Noutro momento do filme, Baby aparece invertendo o compositor mineiro Geraldo Pereira e se autodefinindo como “a falsa baiana que quando entra na roda todo mundo se incomoda”.

A fase seguinte, do sucesso em carreira solo paralela à do então marido Pepeu Gomes, revela um imaginário também pujante, que se inicia com o resgate de suingues históricos da música brasileira, como “Brasileirinho” (em 1976) e “O Que Vier Eu Traço” (em 1978), emblemas do repertório samba-choro de sua influenciadora maior Ademilde Fonseca), ou “Ziriguidum” (em 1979), lançado nos anos 1960 por Jackson do Pandeiro. Apopcalipse Segundo Baby exibe um momento elevado dessa face da artista, quando, em 2010, ela se reúne no palco e nos camarins com duas de suas deusas samba-jazz-choro-suingue-rock-pop, a já citada Ademilde e Elza Soares.

Ponto alto desse período, recuperado em imagens da apresentação catártica de Baby e Pepeu no Maracanãzinho, na final do festival MPB 80 da Globo, o protest rock “O Mal é o Que Sai da Boca do Homem” ressurge luminoso com suas sugestões de que “você pode fumar baseado” etc., sob figurino sumário-sensual e axilas orgulhosamente peludas. Em seu depoimento para o filme, Baby não evita o tema que se tornaria tabu em sua fase religiosa (a atual), mas atrela-o ao fervor, afirmando que foi buscar na Bíblia o mote “o mal é o que sai da boca do homem”. “O mal nunca entrou pela boca”, acrescentavam Baby e Pepeu em 1980, para lá das escrituras, numa aparente apologia às drogas que passou batida pela censura ditatorial num primeiro momento. Fabulando-se a si própria diante da câmera documental, Baby do Brasil insere Deus na narrativa de cada instante de sua vida, mesmo quando “moradora” com Pepeu embaixo da ponte sobre o Rio Jaguaribe.

A evolução inesperada da Baby intérprete endiabrada dos clássicos em rock-samba, de 1980 em diante, é o pop deslavado de hits como “Telúrica” (1981), “Cósmica” (1982), “Um Auê com Você” (1982) e “Sem Pecado e sem Juízo” (1985), embalados por cabelos multicoloridos que ela mantém até hoje (embora de modo mais comportado) no alto da cabeça.

O figurino espacial exibido no videoclipe de “Cósmica” (1982), recuperado em “Apopcalipse Segundo Baby”

Impressionam em particular os figurinos new wave amalucados, kitsch-futuristas, adotados pelo casal Baby-Pepeu na fase ultra pop. Impressiona, também, a força da cantora em estado de graça no palco do primeiro Rock in Rio (em 1985), cantando “Sebastiana”, outro petardo do mestre Jackson do Pandeiro (e mais tarde de Gal Costa), a barriga grávida em estágio avançado exibida nua, livre e leve, para o mundo, uma Leila Diniz para tempos de abertura e redemocratização pós-ditadura.

Em meio à fase new wave multicolorida, houve ainda um primeiro surto esotérico, desfrutado entre gritos de “Rá!”, gurus milagreiros que entortavam talheres e outros ETs. Em 1983, Baby surge à frente do hospital em que está internada Clara Nunes, cabelos desconstruídos, puxando coro esotérico em prol da recuperação da cantora então em coma. Na trajetória de Baby, os caminhos da paranormalidade e da parapsicologia a conduziriam como rios subterrâneos ao Caminho de Santiago (revisitado por ela no filme) e, enfim, à conversão evangélica e à tarefa autonomeada de “popstora”, ao menos teoricamente uma pastora de rebanhos cristãos sem abdicar do pop.

Nesse período arrebatado (o mais ligeiro do filme, embora já dure mais de três décadas), Baby reorienta sua música para cantos católicos tipo “Ave Maria” (em 1991) e para os louvores evangélicos inspirados na música e no fervor estadunidenses. Apenas episodicamente, essa tendência é entrecortada por visitas ao carnaval da Bahia no alto do trio elétrico, por tentativas de retomada dos Novos Baianos e por turnês de retorno mundano em versão solo ou de Baby & Pepeu (todas documentadas no filme). Em especial nessa parte terminal, o documentário de Rafael Saar deixa perceber que, ao mesmo tempo que a música se mantém perenemente como a razão de existir de Baby Consuelo do Brasil, essa dádiva ficou em segundo plano em relação à religiosidade que se derramou sobre a artista em sua maturidade.

Se hoje a grande maioria de nós não enxerga a intérprete colossal que Baby jamais deixou de ser, é porque quem a separa e distancia desse título e dessa condição é Deus, em suas mais diversas manifestações (sejam elas a contracultura, drogas psicodélicas, os cabelos multicoloridos, gurus milagreiros, o Caminho de Santiago, o deus católico ou o deus evangélico). O apo(p)calipse, segundo Baby do Brasil, é ela mesma.

Baby Consuelo do Brasil, diáfana, popstora, intérprete maior: o apocalipse segundo si própria – foto divulgação Apocalipse Segundo Baby

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  237. Hi! I know this is kinda off topic but I was wondering which blog platform are you using for this site? I’m getting sick and tired of WordPress because I’ve had issues with hackers and I’m looking at options for another platform. I would be great if you could point me in the direction of a good platform.

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  268. Howdy would you mind sharing which blog platform you’re working with? I’m going to start my own blog in the near future but I’m having a tough time choosing between BlogEngine/Wordpress/B2evolution and Drupal. The reason I ask is because your design and style seems different then most blogs and I’m looking for something completely unique. P.S Sorry for being off-topic but I had to ask!

  270. Hello! Do you know if they make any plugins to help with Search Engine Optimization? I’m trying to get my blog to rank for some targeted keywords but I’m not seeing very good results. If you know of any please share. Thanks!

  274. Hi would you mind letting me know which hosting company you’re working with? I’ve loaded your blog in 3 different browsers and I must say this blog loads a lot faster then most. Can you suggest a good web hosting provider at a honest price? Kudos, I appreciate it!

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